AnnaProhaska

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  • Soprano

About Anna

Winner: Opus Klassik Female Singer of the Year 2024

2024 Opus Klassik Female Singer of the Year, the Austrian-English soprano Anna Prohaska, made her debut aged 18 at Berlin’s Komische Oper as Flora in Britten’s The Turn of the Screw and soon after with the Staatsoper Unter den Linden Berlin, entering the ensemble at age 23. She has since gone on to have an extraordinary international career with some of the world’s greatest opera houses and orchestras.

Plans for the 24/25 season include Zabelle (George Benjamin's Picture a Day Like This) conducted by the composer for Opéra Comique; Mozart's Requiem in Romeo Castellucci's staged production for Gran Teatre del Liceu; Fiordiligi (Mozart's Così fan tutte) with the Montréal Symphony Orchestra; and a new opera, Lash, by Rebecca Saunders at the Deutsche Oper Berlin.

On the concert platform, Anna performs Handel's Messiah with the Orchestra Sinfonica di Milano Giuseppe Verdi; Haydn's Creation with the Helsinki Philharmonic Orchestra; Mozart's Exsultate Jubilate with the Deutsches Symphonie-Orchester Berlin; and Rufus Wainwright's Dream Requiem with the Orquestra Simfònica de Barcelona i Nacional de Catalunya.

She also appears as a 24/25 season Spotlight Artist for the Toronto Symphony Orchestra, and tours her projects Ophelia with Eric Schneider and Paradise Lost with Julius Drake across Europe.

Anna is based in Berlin

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Contact

Nicholas Moloney

Nicholas Moloney

Senior Artist Manager
Megan Steller

Megan Steller

Associate Artist Manager

Representation

Worldwide general management with Askonas Holt

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Season Highlights

Dec 2024
Auditorium di Milano Fondazione Cariplo
Handel's Messiah Christoph Koncz (conductor) Orchestra Sinfonica di Milano
Dec 2024
Konserttisali, Musiikkitalo Helsinki
Haydn's Creation Thomas Hengelbrock (conductor) Helsinki Philharmonic Orchestra
Jan 2025
Berliner Philharmonie
Mozart's Exsultate Jubilate K. 165 Bernhard Forck (conductor) DSO
Jan 2025
Palau de la Musica Catalana
Wainwright's Dream Requiem Ludovic Morlot (conductor) Barcelona Symphony Orchestra
Feb 2025
Liceu Barcelona
Mozart's Requiem Giovanni Antonini (conductor)

Video

Photos

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Ensemble Resonanz & Anna Prohaska performing at the Elbphilharmonie

Projects

Anna Prohaska & Ensemble Resonanz

Star soprano Anna Prohaska and conductor Nicolas Ellis combine forces with Ensemble Resonanz to present a programme of 'Love and Betrayal', with music by Berg and Mozart. Mozart's 'Haffner' Symphony No. 35 serves as the backbone of the programme, and the performance intertwines encrypted love messages from Berg's 'Lyric Suite' with the dizzying emotional states expressed in many of Mozart's most famous arias, including from Le Nozze di Figaro and Cosi Fan Tutte.

Learn about this project
  • Ensemble Resonanz & Anna Prohaska performing at the Elbphilharmonie

    Projects

    Anna Prohaska & Ensemble Resonanz

    Star soprano Anna Prohaska and conductor Nicolas Ellis combine forces with Ensemble Resonanz to present a programme of 'Love and Betrayal', with music by Berg and Mozart. Mozart's 'Haffner' Symphony No. 35 serves as the backbone of the programme, and the performance intertwines encrypted love messages from Berg's 'Lyric Suite' with the dizzying emotional states expressed in many of Mozart's most famous arias, including from Le Nozze di Figaro and Cosi Fan Tutte.

    Learn about this project

Sample Programmes

  • Paradise Lost

    Performed in collaboration with Julius Drake TITLE: Morning in Paradise - Eve Awakens - Eve breathes life into God’s creation MAURICE RAVEL: Trois beaux oiseaux du Paradis OLIVIER MESSIAEN: Bonjour toi, colombe verte GABRIEL FAURÉ: La chanson d'Ève, Op. 95 CLAUDE DEBUSSY: Apparition DANIEL-LESUR: Ce qu'Adam dit à Ève TITLE: Pastoral Idyll - Playing with Fire - Eve and Evil - The Fall of Man IGOR STRAVINSKY: Pastorale HUGO WOLF: 'Die Spröde' from Goethe-Lieder, No. 26 HUGO WOLF: 'Die Bekehrte' from Goethe-Lieder, No. 27 JOHANNES BRAHMS: 'Salamander' from 5 Lieder, Op.107, No. 2 ARIBERT REIMANN: 'Gib Mir Den Apfel' from Kinderlieder, No. 6 BENJAMIN BRITTEN: The Poison Tree HANS PFITZNER: Röschen biß den Apfel an, Op. 33 MAURICE RAVEL: 'Air du Feu' from L'enfant et les sortilèges Interval TITLE: Banishment - Exodus – Memories SERGEI RACHMANINOV: 'A-oo', Op.38, No. 6 CHARLES IVES: Evening HENRY PURCELL: Sleep, Adam, and take thy rest, Z195 FRANZ SCHUBERT: Auflösung, D.807 FRANZ SCHUBERT: Abendstern, D.806 ROBERT SCHUMANN: Jetzt sank des Abends goldner Schein ROBERT SCHUMANN: Liederkreis, Op. 24 (Heine): 6. Warte, warte wilder Schiffmann TITLE: Earthly Life HANS EISLER: Jeden Morgen, mein Brot zu verdienen HANS EISLER: Die Stadt hat mich belehrt GUSTAV MAHLER: Des Knaben Wunderhorn, No. 5 Das irdische Leben GEORGE CRUMB: Wind Elegy LEONARD BERNSTEIN: Silhouette (Galilee)

  • Serpent & Fire

    Performed in collaboration with Il Giardino Armonico HENRY PURCELL: Dido and Aeneas Z. 626 'Overture' HENRY PURCELL: Ah! Belinda from Dido and Aeneas Z. 626 CHRISTOPH GRAUPNER: "Holdestes Lispeln der spielenden Fluthen" from "Dido, Königin von Karthago" in G Major ANTONIO SARTORIO: "Non voglio amar" from Giulio Cesare in Egitto MATTHEW LOCKE: Curtain Tune (from The Tempest) DANIELE DE CASTROVILLARI: "A Dio regni, a Dio scettri" from La Cleopatra ANTONIO SARTORIO: "Quando voglio" from Giulio Cesare in Egitto HENRY PURCELL: ‘Chaconne’ from The Fairy Queen CHRISTOPH GRAUPNER: "Der Himmel ist von Donner... Infido Cupido" from Dido, Königin von Karthago CHRISTOPH GRAUPNER: "Agitato da tempeste" from Dido, Königin von Karthago Interval SAMMARTINI: Recorder concerto in F major JOHANN ADOLF HASSE: "Già si desta la tempesta" from Didone abbandonata GEORGE FRIDERIC HANDEL: "Se pietà di me non senti" from Giulio Cesare in Egitto DARIO CASTELLO: Sonata decimaquinta a quattro (Venezia, 1629) FRANCESCO CAVALLI: "Re de' Getuli Altero...Il mio marito" from Didone JOHANN ADOLF HASSE: "Morte col fiero aspetto" from Marc'Antonio e Cleopatra LUIGI ROSSI: Passacaille del Seig. R Louigi HENRY PURCELL: "Oft She visits this lone mountain" from Dido and Aeneas HENRY PURCELL: Dido's Lament (from Dido and Aeneas)

  • Ophelia

    Performed in collaboration with Lars Eidinger WILLIAM SHAKESPEARE: 'Sein oder Nichtsein, das ist die Frage' JOHANNHES BRAHMS: 5 Ophelia-Lieder: 1. How should I your true love know JOHANNHES BRAHMS: 5 Ophelia-Lieder: 2. White his shroud as the mountain snow JOHANNHES BRAHMS: 5 Ophelia-Lieder: 3. Tomorrow is St. Valentine's day JOHANNHES BRAHMS: 5 Ophelia-Lieder: 4. They bore him barefaced on the bier JOHANNHES BRAHMS: 5 Ophelia-Lieder: 5. And will he not come again? JOHANNES BRAHMS: Mädchenlied WILLIAM SHAKESPEARE: 'Wie geht es dir, wir haben uns viele Tage nicht gesehen?' JOHANNES BRAHMS: 6 Lieder, Op. 97, No. 1 Nachtigall FELIX MENDELSSOHN: 6 Lieder Op. 71: 4. Schilflied HEINER MÜLLER: 'Ich bin nicht Hamlet' HUGO WOLF: Erstes Liebeslied eines Mädchens HEINER MÜLLER: 'Willst du mein Herz essen, Hamlet' ARTHUR HONEGGER: "Chanson de la Sirène" from La Petite Sirène de Hans Christian Andersen ARTHUR HONEGGER: "Berceuse de la Sirène" from La Petite Sirène de Hans Christian Andersen FRANZ SCHUBERT: Romanze aus Rosamunde HEINER MÜLLER: 'Ich bin Ophelia' RICHARD STRAUSS: Drei Lieder der Ophelia GEORG TRAKL: De profundis KURT WEILL: Die Ballade vom ertrunkenen Mädchen ROBERT SCHUMANN: Herzeleid Op.107 WILLIAM SHAKESPEARE: 'Am Bach wächst eine Weide' HECTOR BERLIOZ: "La mort d’Ophélie", op. 18 No. 2 GEORG HEYM: Ophelia I FRANZ SCHUBERT: "Am See" D. 746 FRANZ SCHUBERT: Der Tod und das Mädchen D531 HEINER MÜLLER: 'Hier spricht Elektra JOHN DOWLAND: Sorrow stay: Die not before thy day; Mourn, day is with darkness

  • Endor

    Performed in collaboration with Nicholas Altstaedt and Francesco Corti JOHN TAVENER: Akhmatova Songs for Soprano and Cello: I. Dante FRANZ TUNDER: An Wasserflüssen Babylon VINCENZO BONIZZI: “Pis ne peut venir" GEORGE FRIDERIC HANDEL: Vo' far guerra GEORGE FRIDERIC HANDEL: "Author of Peace” from Saul Act II PANCRACE ROYER: Marche des Scythes ALEXANDER TCHEREPNIN: Tartar Dance, Op. 84 No. 2 LUCIANO BERIO: “Abbagnata” from Naturale LUCIANO BERIO: "Ninna Nanna" from Naturale LUCIANO BERIO: “Ladata” from Naturale WOLFGANG RIHM: Gebet der Hexe von Endor Interval JOHN TAVENER: Akhmatova Songs for Soprano and Cello: IV. Smert GEORGE FRIDERIC HANDEL: "Infernal Spirits" from Saul, Act III MARIN MARAIS: "Le Tourbillon" from Suite d’un gout étranger GEORGE FRIDERIC HANDEL: "Credete al Mio Dolore" from Alcina H SCHEIDEMANN: Pavane Lachrymae JÖRG WIDMANN: “Schwester Tod” from Babylon

  • Behind the Lines

    TRADITIONAL: Es Geht Ein Dunkle Wolk Herein LUDWIG VAN BEETHOVEN: Die Trommel Gerühret HANS EISLER: Kriegslied Eines Kindes HUGO WOLF: Der Tambour HUGO WOLF: Der Soldat II SERGEI RACHMANINOV: Polyubila Ya Na Pečal’ Svoyu THOMAS TRAILL: My Luve's In Germanie CHARLES IVES: In Flanders Fields CHARLES IVES: 1, 2, 3 CHARLES IVES: Tom Sails Away ROGER QUILTER: Fear No More The Heat O' The Sun HANS EISLER: Panzerschlacht HANS EISLER: Die Letze Elegie HANS EISLER: Die Heimkehr MICHAEL CAVENDISH: Wandering In This Place FRANZ SCHUBERT: Kriegers Ahnung FRANZ SCHUBERT: Ellens Gesang I WOLFGANG RIHM: Untergang FRANZ LISZT: Jeanne D'arc Au Bûcher ROBERT SCHUMANN: Die Beiden Grenadiere FRANCIS POULENC: Le Retour Du Sergent ROBERT SCHUMANN: Der Soldat GUSTAV MAHLER: Wo Die Schönen Trompeten Blasen KURT WEILL: Beat! Beat! Drums! KURT WEILL: Dirge For Two Veterans

News

Press

  • Requiem (Soprano)

    Gran Teatre del Liceu, Barcelona
    Feb 2025

    • The work of the soprano Anna Prohaska was excellent, with a fleshy, homogeneous voice and great musicality…

    • …with the voices of four international stars: the soprano Anna Prohaska, who makes her debut at the Gran Teatre with her crystalline and nuanced voice…

    • …the remarkable team of vocal soloists; the soprano Anna Prohaska, with impeccable style and vocal appeal…

    • …and the singers – Anna Prohaska, Marina Viotti, Levy Sekgapane and Nicola Ulivieri – were faithful to the Mozartian expression that illuminates an overwhelming experience.

  • CD Review - Dream Requiem

    Warner Classics
    Jan 2025

    • The performance under Franck certainly suggests that all concerned believe in the authenticity of the work, and the message it conveys. With Meryl Streep delivering Byron’s poem and Anna Prohaska as the soprano soloist soaring over the French Radio Chorus, there’s a real sense of a special occasion about it all...

  • Paradise Lost

    Concertgebouw, Amsterdam
    Dec 2024

    • She came on like a little devil, her hair in a chaotic mess. In the Kleine Zaal of the Concertgebouw we witnessed a hallucinatory trip through time, language, story... Prohaska needs no decor, no acted drama. She uses her own original personality plus a chameleonic voice that scrapes, groans and ecstatically reaches out to the listener. In doing so, she seeks intimacy, even the biggest outbursts she keeps small. With every word she shows how beautiful vowels and consonants can be.

  • Ophelia

    Wiener Konzerthaus
    Nov 2024

    • The pas de deux of the actor and the singer allows words and music to merge into one. Eidinger's language becomes music and Prohaska's singing becomes poetry... In songs by Richard Strauss, Mendelssohn Bartholdy, Schubert, Schumann and Berlioz [Prohaska] oscillates between wondrous intimacy and unsettling vocal sensuality. With Hugo Wolf and Kurt Weill she is completely in her element.

  • Picture a Day Like This (Zabelle)

    Opera Comique
    Oct 2024

    • Zabelle is a short role but Anna Prohaska creates a spell on each note, encompassing without difficulty the vast range required. The timbre retains a golden down with immediate seduction.

  • CD Review - Picture a Day Like This (Zabelle)

    Nimbus Records
    Sep 2024

    • But there’s no mistaking the quality of the performances... Anna Prohaska provides the perfect foil as Zabelle...

    • ...while Anna Prohaska is Zabelle, who tends the garden in which the Woman finds, if not the miracle she is looking for, then a way of coming to terms with her loss. Both singers seem to inhabit their characters effortlessly... beneath her serenity, Prohaska manages to convey that Zabelle’s path to acceptance has not been an easy one.

    • As Zabelle, soprano Anna Prohaska describes her paradisiac life in soaring flights of avian coloratura tinged with folk inflections. It’s a performance of such effortless, inhuman perfection that it borders on the impossible.

  • Works by Byrd, Tallis & Dowland with Phantasm

    Musikverein, Austria
    Sep 2024

    • At times pleading, at times bold, sometimes expansive: This is how Anna Prohaska presented samples of English songs from the Elizabethan era with the Phantasm viol consort in the Brahms Hall of the Vienna Musikverein. The Austrian-British singer’s affinity for the language was unmistakable, with crystal-clear diction that is hard to match. Through her at times nonchalant, at times heartfelt delivery, she became the ideal storyteller, transporting the audience back centuries... In any case, the soprano demonstrated excellent phrasing, clear, natural diction, and long breaths. She savored special details like rhythmic nuances and let her voice flow beautifully.

  • Works by Ives, Kloke, Mahler, and Dvořák at Musikfest Berlin

    Philharmonie Berlin
    Sep 2024

    • His chamber writing permitted Prohaska to scale down her voice in singing of great subtlety that could also soar to climax — and did.

    • Prohaska proved ever-adaptable to their varying moods and styles from the French cabaret sensibility of “Elégie” to the country western parody that sees “cowpuncher” Charlie Rutlage meet his tragicomic fate at the hand of his own horse. The Austrian-British soprano also excelled as dedicatee in Kloke’s arrangements of seven of Gustav Mahler’s early songs.

  • Saint François d'Assise (L'Ange)

    Staatsoper Hamubrg
    Jun 2024

    • ...in the scene with the angel making music, sung seraphically by Anna Prohaska...

    • Anna Prohaska is also outstanding as the angel, who alternates between elf and Star Wars princess in a white and silver costume with glitter on her face. And then she actually takes off: she climbs into a futuristic capsule, is pulled up into the air and floats around the auditorium singing.

    • The appearances of Anna Prohaska’s Angel injected some dramatic tension, especially sung with her characteristically edgy blend of pure tone and light vibrato.

    • One exception is the role of the Angel, sung by Anna Prohaska, whose radiant tones (...) corresponded with her glistening, dazzling costume.

    • This noblesse finds its personification in Anna Prohaska, who as an angel in pearly white robes shimmering in the colors of the rainbow knocks on the monastery gates from the tiers of the hall, first as a wanderer unrecognized with martial orchestral support, then as an angel identified almost in iridescent nihilism, preaching of heavenly bliss. Taking up the otherworldly sonority of the (...) Ondes Martenots, Prohaska with her unearthly soprano is able to reproduce sweeping tonal plunges as well as chromatic raptures without ever forfeiting dynamic quality. Prohaska thus stands in correspondence with the powerful choral ensemble...

    • Incidentally, Anna Prohaska also floated as an angel, sounding down from above with her beguiling soprano.

    • The solo parts were congenial: above all the charismatic Anna Prohaska as Angel...

  • Works by Byrd, Dowland, Gesualdo & Tallis

    Wigmore Hall with Phantasm Viol Consort
    Jan 2024

    • ★★★★★ Prohaska, a exceptionally versatile artist, is noted for a breadth of repertory that ranges from rare and specialist baroque to contemporary via the 18th and 19th century mainstreams, and is perfectly at ease in composers as far apart stylistically as Kurtág, Eisler, Mozart and Bach. At the Wigmore Hall, her way with music from the English and Italian Renaissance was characterised by impeccable assurance and deep sincerity, her tone a mixture of silk and silver, the words etched with admirable restraint.

    • Prohaska has a wonderfully plangent voice with a terrific sense of line, and if you simply sat back then you could enjoy they way she became part of the ensemble, a fifth part weaving around the four viols. Her commitment to and identification with the music was absolute... The second section, Hints of the Erotic, brought in a more perky sense of the dance in a sequence of very secular numbers by Byrd. The characterful Susannah Fair might deal with a sacred subject but the treatment was distinctly perky, whilst Amaryrillis danced in green in a very engaging manner. Prohaska brought a nice sense of narrative to In fields abroad, the opening rather serious but a sly sexiness creeping in the final verse.

    • Tallis’s Why fum’th in fight was heard...full of subtlety and contour and distinguished by Prohaska’s aptitude for storytelling...Opening the ‘Hints of the Erotic’ part of the programme...Prohaska’s diction natural and crystal clear, equalled by a light-on-its-feet Thou Amaryllis dance in green and a perfectly rhythmically-sprung In fields abroad...Finally, some Gesualdo, and a trip to another world: the utterly remarkable harmonies of Itene, o miei sospiri (‘Go now, O my sighs’), its phenomenal chromaticism perfectly honoured by all concerned, Prohaska imbuing the words with incredible levels of meaning...Byrd’s Miserere and Lullaby (edited Dreyfus and Gammie respectively) seemed inextricably linked, Prohaska truly touching in the latter (which also included the loveliest ‘dialogue’ between Prohaska and Dreyfus’s treble viol.

  • Orlando (Angelica)

    Teatro Real, Madrid with Ivor Bolton
    Oct 2023 - Nov 2023

    • Anna Prohaska (Angelica) cantó impecablemente su parte y fue la más segura en sus ornamentaciones vocales... Anna Prohaska (Angelica) sang her part impeccably and was the most confident in her vocal ornamentations...

  • Ravel Trois poèmes de Mallarmé

    Wigmore Hall, London with Ensemble Modern & Sir George Benjamin
    Sep 2023

    • The soprano Anna Prohaska had provided the concert’s centrepiece, wrapping her velvety tones sensuously around Ravel’s Trois Poèmes de Mallarmé, as Benjamin arranged the iridescent instrumental colours immaculately around her. And partnered by Ensemble Modern’s pianist Ueli Wiget, Prohaska also came up with more Varèse as an encore, his 1906 setting of Verlaine, Un Grand Sommeil Noir, to which she gave a compelling incantation-like intensity.

    • These baffling but tantalising verses were sung by Anna Prohaska with disarming intensity (no cloying sentimentality)...

  • World Premiere of Picture a Day Like This (Zabelle)

    Festival Aix d'en Provence with Sir George Benjamin
    Jul 2023

    • As Zabelle, the woman in the magic garden, Anna Prohaska can convey repressed rage and trauma in every polished note. ★★★★★

    • Finally, the collector sends the woman into a garden – rather creepily designed, in a lush video by Hicham Berrada – where she can encounter the mysterious Zabelle (the eloquent Anna Prohaska), who has achieved her own resolution to a similar tragedy, and can hint at a different outcome. It is an ambivalent and touching end to an exquisitely crafted little masterpiece. ★★★★★

    • Berlin formed soprano Anna Prohaska commanded the virtuoso lines of the garden keeper Zabelle with the required aplomb.

    • The honeyed, sympathetic tones of Anna Prohaska eventually resolves the mystery: the end result is ambiguous but utterly satisfying.

    • Finally, Anna Prohaska sings the insightful Zabelle with much care and attention...

    • Anna Prohaska, la soprano autrichienne pour qui Benjamin créera le rôle de Zabelle est la première interprète embarquée dans l’aventure. Prohaska incarne son rôle à travers un soprano léger, imprégné d’une émotion troublante et d’un érotisme fuyant. A la fois éthérée et puissante, Prohaska nous livre une Zabelle insaisissable qui, derrière ces injonctions « Ne me touche pas! » cache une douleur transformée et sublimée en ce jardin qui lui ressemble. Anna Prohaska, the Austrian soprano for whom Benjamin will create the role of Zabelle, is the first performer on board the adventure. Prohaska embodies her role through a light soprano, imbued with disturbing emotion and fleeting eroticism. Both ethereal and powerful, Prohaska gives us an elusive Zabelle who, behind these injunctions “Don’t touch me!” » hides a pain transformed and sublimated in this garden which resembles it.

    • Special care appears to have been given, as well, to the soprano Anna Prohaska as Zabelle, her sympathetic stage presence feeding Benjamin’s firm yet humane music for her, and vice versa.

    • Comme Mozart ou Britten, Benjamin aime composer pour des voix spécifiques qui, dit-il, en retour, l’inspirent. Ainsi Anna Prohaska pour qui il avait envie d’écrire depuis 2010, impressionnante en double virtuelle de l’héroïne. Like Mozart or Britten, Benjamin likes to compose for specific voices which, he says, in return, inspire him. Thus Anna Prohaska for whom he had wanted to write since 2010, impressive as the heroine's virtual double.

  • Mozartwoche Abschlusskonzert

    Stiftung Mozarteum, Salzburg with Ivor Bolton & Mozarteumorchester Salzburg
    Feb 2024

    • Überwältigend dramatisch ausgedeutet folgten das Leid der Königstochter und deren Verzweiflung im Abschied. Noch grandioser dann aber noch Fiordiligis „Felsenarie“ aus Così fan tutt – hier noch standhaft und entsetzt angesichts des Ansinnens, den Geliebten durch einen Anderen ersetzen zu sollen. Virtuos, in furioser Empörung, kamen die ihr abverlangten weit auseinander driftenden Töne und raschen Registerwechsel. Überzeugend, überwältigend, grandios. This was followed by an overwhelmingly dramatic interpretation of the suffering of the king's daughter and her despair in her farewell. Even more magnificent, however, was Fiordiligi's "Come scoglio immoto resta" from Così fan tutt - here still steadfast and horrified at the suggestion that the beloved should be replaced by another. The widely diverging notes and rapid changes of register demanded of her were delivered with virtuosity and furious indignation. Convincing, overwhelming, grandiose.

    • Bei der Leichtigkeit, die Anna Prohaska in die Worte legt, lässt kaum etwas an einen schweren Abschied denken: "Letzte Stunde, brich herein!", singt die Sopranistin beim Abschlusskonzert der Mozartwoche mit hellem, zartem Ausdruck. With the lightness that Anna Prohaska puts into her words, there is hardly anything to suggest a difficult farewell: "Letzte Stunde, brich herein!", the soprano sings with a bright, delicate expression at the final concert of the Mozart Week.

  • Works of Byrd, Tallis and Dowland

    • The Magic Flute (Pamina)

      Royal Ballet and Opera, London
      Dec 2022

      • ...the plot and the whole evening are borne by the travails of Papageno (Gyula Orendt) and Pamina (Anna Prohaska). Both singers are real specialists in these roles, bringing a wonderfully deep knowledge and understanding of them.

      • Anna Prohaska’s Pamina is full of adult anguish and subtlety, especially in her act two lament...

      • ...her sense of line and stylishness is ideal for this part...

    Discography